Richard I. Cohen, “Review of ‘Holocaust Memory Reframed: Museums and the Challenges of Representation’, by Jennifer Hansen-Glucklich,” East European Jewish Affairs, vol. 45, no. 2-3 (2015): 340-334 (original) (raw)

A Sense of Jewish Empowerment or a Lesson in Universal Values? New Directions in the Design of Holocaust Museums in the USA

This article studies the architectural design of two recently opened Holocaust museums, the Los Angeles Museum of the Holocaust (LAMOTH) and the Illinois Holocaust Museum & Education Center, and reveals them as corresponding to different approaches toward Holocaust commemoration. The highly symbolic design of architect Stanley Tigerman's Illinois Holocaust Museum is representative of a 'Jewish-American model' that links Holocaust commemoration to the reinforcement and empowerment of Jewish identity, while architect Hagy Belzberg's abstract design for the LAMOTH exemplifies a 'universal model' which teaches the events of the Holocaust in order to ensure a more moral future.

Journal of Narrative & Language Studies 6 (10). Rethinking Authenticity of the Holocaust Experience through Museum Architecture.pdf

This article discusses the authenticity of the experience of the Holocaust through museum architecture. This issue arose during the writer's visitor research conducted at European Jewish museums with the aim of examining the effect of the spatial design on Holocaust memory construction. From Aristotle and Plato to Benjamin and Heidegger and with the support of psychoanalytic concepts of Freud, Lacan, and Jung, we acknowledge different theories that approach the experiential and existential dimensions of authenticity; pursuing self-discovery and overcoming experiential challenges are the two central axes that will help us identify the different categories of visitors according to the kind of authenticity they quest for and the cause of its necessity. Moreover, the juxtaposition between the Museum and the actual site, such as a concentration camp, apart from raising questions of veracity and representation-which one provides a " real " account of the past?-posits problems of ethics, appropriation, materiality, narrativity, and empathy and, finally, leads to a salient issue: how different is memory from commemoration and which " locus " represents better each one of them; the Museum or the site? Is such a question legitimate?

Rethinking Authenticity of the Holocaust Experience Through Museum Architecture

2018

This article discusses the authenticity of the experience of the Holocaust through museum architecture. This issue arose during the writer’s visitor research conducted at European Jewish museums with the aim of examining the effect of the spatial design on Holocaust memory construction. From Aristotle and Plato to Benjamin and Heidegger and with the support of psychoanalytic concepts of Freud, Lacan, and Jung, we acknowledge different theories that approach the experiential and existential dimensions of authenticity; pursuing self-discovery and overcoming experiential challenges are the two central axes that will help us identify the different categories of visitors according to the kind of authenticity they quest for and the cause of its necessity. Moreover, the juxtaposition between the Museum and the actual site, such as a concentration camp, apart from raising questions of veracity and representation- which one provides a “real” account of the past? - posits problems of ethics, ...

Not What We Expected: The Jewish Museum Berlin in Practice

An extensive existing literature studies Daniel Libeskind's deconstructivist design for the Jewish Museum Berlin (JMB). This article focuses instead on the museum's exhibits from 2001 to today, their evolution in response to visitor criticisms, and their discursive setting, all of which exhibit museum and marketing professionals' attempts to deal with, and to an extent to overcome, the theorydriven and Holocaust-laden architectural programme. The JMB, in practice, while including the Holocaust as one component of visitors' experiences, instead emphasizes Jews and things Jewish as a positive component of a 'postnational' version of the German national narrative.

United States Holocaust Museums: Pathos, Possession, Patriotism

Public History Review, 2011

Holocaust museums or memorials, I explore two US Holocaust museums as a type of theatre, the product as catharsis, and the ruptures between memory, fascism and theatricality. Catharsis, an ancient medical term defined by Aristotle as the 'purgation of fear and pity', may not be the intended outcome of these museums, but its occurrence is disturbingly compatible with the seduction and emotional release identified with Wagner's gesamtkunstwerk. US Holocaust museums seem to challenge the spaces between memory and its direction, between vision and revision, building upon self-consciousness as part of their aesthetic, while commenting upon their own efforts to educate and memorialise. This species of commemoration, and the apparatus of emotion employed by these museums, seems idiosyncratically American. The United States Holocaust Memorial Museum in Washington DC and Museum of Tolerance in Los Angeles render memory as an experience seeking

“Designing the Holocaust at the Sites of the Shoah and Museum Stores.” Design Principles and Practices: An International Journal 3.6: 1-14.

"In 2004, the director of the Buchenwald Memorial, Volkhard Knigge, challenged the students at Bauhaus University in Weimar to create concentration camp souvenirs to sell in the gift shop/bookstore at the Buchenwald Memorial. To explain the source of his challenge, Knigge argued that visitors between the ages of 20 and 30 have formulated a different way of accessing the history of the Holocaust. In particular, he argued that these visitors want to take something away that is loaded with the emotions of the place, and thus providing souvenirs would meet that need. In this paper, I argue that such a commodification reflects a desire on the part of visitors to “own” their experience – that ownership of an in-situ experience of the Holocaust is materialized in taking something away from the site itself. Some of the souvenirs are organic to the site. For example, the forest of beech trees that served as the concentration camp’s namesake inspired one of the souvenirs: sprigs of beech planted in pots that visitors can take home. Another souvenir is stationary embedded with tiny pebbles and twigs from the camp. The visitors’ souvenirs serve as tokens of having been there and of taking part of the Holocaust home with them. In this paper, I discuss the complexities of designing mementos and artifacts of the Holocaust. I also demonstrate that the ways in which the Holocaust is commodified, potentially destabilizes the commemorative or memorial site of the Holocaust, thereby eroding an understanding of the site, the memory, and the history itself as sacred, permanent, and inviolate."